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Hegel-Aesthetics Sep pdf version of the entry Hegel’s Aesthetics http://plato.stanford.edu/archives/sum2010/entries/hegel-aesthetics/ Hegel's Aesthetics from the Summer 2010 Edition of the First published Tue Jan 20, 2009; substantive revision Tue Dec 15, 2009 Stanford Encyclopedia G.W.F. Hegel's aesthetics, or philosophy of art, forms part of the extraordinarily rich German aesthetic tradition that stretches from J.J. of Philosophy Winckelmann's Thoughts on the Imitation of the Painting and Sculpture of the Greeks (1755) and G.E. Lessing's Laocoon (1766) through Immanuel Kant's Critique of the Power of Judgment (1790) and Friedrich Schiller's Letters on the Aesthetic Education of Man (1795) to Friedrich Nietzsche's Birth of Tragedy (1872) and (in the twentieth century) Martin Edward N. Zalta Uri Nodelman Colin Allen John Perry Heidegger's The Origin of the Work of Art (1935–6) and T.W. Adorno's Principal Editor Senior Editor Associate Editor Faculty Sponsor Aesthetic Theory (1970). Hegel was influenced in particular by Editorial Board Winckelmann, Kant and Schiller, and his own thesis of the “end of art” http://plato.stanford.edu/board.html (or what has been taken to be that thesis) has itself been the focus of close Library of Congress Catalog Data attention by Heidegger and Adorno. Hegel's philosophy of art is a wide ISSN: 1095-5054 ranging account of beauty in art, the historical development of art, and Notice: This PDF version was distributed by request to mem- the individual arts of architecture, sculpture, painting, music and poetry. It bers of the Friends of the SEP Society and by courtesy to SEP contains distinctive and influential analyses of Egyptian art, Greek content contributors. It is solely for their fair use. Unauthorized sculpture, and ancient and modern tragedy, and is regarded by many as distribution is prohibited. To learn how to join the Friends of the one of the greatest aesthetic theories to have been produced since SEP Society and obtain authorized PDF versions of SEP entries, Aristotle's Poetics. please visit https://leibniz.stanford.edu/friends/ . 1. Hegel's Knowledge of Art Stanford Encyclopedia of Philosophy 2. Hegel's Texts and Lectures on Aesthetics Copyright c 2010 by the publisher The Metaphysics Research Lab 3. Art, Religion and Philosophy in Hegel's System Center for the Study of Language and Information 4. Kant, Schiller and Hegel on Beauty and Freedom Stanford University, Stanford, CA 94305 5. Art and Idealization Hegel’s Aesthetics Copyright c 2010 by the author 6. Hegel's Systematic Aesthetics or Philosophy of Art Stephen Houlgate 6.1 Ideal Beauty as such All rights reserved. 6.2 The Particular Forms of Art Copyright policy: https://leibniz.stanford.edu/friends/info/copyright/ 6.3 The System of the Individual Arts 1 Hegel’s Aesthetics Stephen Houlgate 7. Conclusion individual works of art—to such an extent, indeed, that his aesthetics Bibliography constitutes, in Kai Hammermeister's words, “a veritable world history of Hegel's Collected Works art” (Hammermeister, 24). English Translations of Key Texts by Hegel Transcripts of Hegel's Lectures on Aesthetics Hegel read both Greek and Latin (indeed, he wrote his diary partly in Secondary Literature in English Latin from the age of fourteen); he also read English and French. He was Secondary Literature in German thus able to study the works of Homer, Aeschylus, Sophocles, Euripides, Other Relevant Works Virgil, Shakespeare and Molière in the original languages. He never Other Internet Resources travelled to Greece or Italy, but he did undertake several long journeys Related Entries from Berlin (where he was appointed Professor in 1818) to Dresden (1820, 1821, 1824), the Low Countries (1822, 1827), Vienna (1824) and Paris (1827). On these journeys he saw Raphael's Sistine Madonna and 1. Hegel's Knowledge of Art several paintings by Correggio (in Dresden), Rembrandt's Night Watch (in Amsterdam), the central section of the van Eyck brothers' Adoration Hegel's Phenomenology of Spirit (1807) contains chapters on the ancient of the Lamb (in Ghent)—the wing panels were at that time in Berlin—and Greek “religion of art” (Kunstreligion) and on the world-view presented “famous items by the noblest masters one has seen a hundred times in in Sophocles' Antigone and Oedipus the King. His philosophy of art copper engravings: Raphael, Correggio, Leonardo da Vinci, Titian” (in proper, however, forms part of his philosophy (rather than Paris) (Hegel: The Letters, 654). He liked to visit the theatre and opera, phenomenology) of spirit. The Phenomenology can be regarded as the both on his travels and in Berlin, and he was acquainted with leading introduction to Hegel's philosophical system. The system itself comprises singers, such as Anna Milder-Hauptmann (who sang in the first three parts: logic, philosophy of nature, and philosophy of spirit, and is set production of Beethoven's Fidelio in 1814), as well as the composer Felix out (in numbered paragraphs) in Hegel's Encyclopaedia of the Mendelssohn-Bartholdy (whose revival of J.S. Bach's St Matthew Passion philosophical Sciences (1817, 1827, 1830). The philosophy of spirit is in Hegel attended in March 1829). Hegel was also on close personal terms turn divided into three sections: on subjective, objective and absolute with Goethe and knew his drama and poetry especially well (as he did spirit. Hegel's philosophy of art or “aesthetics” constitutes the first sub- those of Friedrich Schiller). section of his philosophy of absolute spirit, and is followed by his philosophy of religion and his account of the history of philosophy. Adorno complains that “Hegel and Kant [ … ] were able to write major aesthetics without understanding anything about art” (Adorno, 334). This Hegel's philosophy of art provides an a priori derivation—from the very may or may not be true of Kant, but it is clearly quite untrue of Hegel: he concept of beauty itself—of various forms of beauty and various had an extensive knowledge and a good understanding of many of the individual arts. In marked contrast to Kant, however, Hegel weaves into great works of art in the Western tradition. Nor was Hegel's knowledge his philosophical study of beauty numerous references to and analyses of and interest restricted to Western art: he read (in translation) works of individual works of art—to such an extent, indeed, that his aesthetics Indian and Persian poetry, and he saw at first hand works of Egyptian art 2 Stanford Encyclopedia of Philosophy Summer 2010 Edition 3 Hegel’s Aesthetics Stephen Houlgate Indian and Persian poetry, and he saw at first hand works of Egyptian art extent (if at all) Hotho did in fact distort Hegel's account of art. It should in Berlin (Pöggeler 1981, 206–8). Hegel's philosophy of art is thus an a also be noted that Gethmann-Siefert's own interpretation of Hegel's priori derivation of the various forms of beauty that, pace Adorno, is aesthetics has been called into question (see Houlgate 1986a). informed and mediated by a thorough knowledge and understanding of Nevertheless Gethmann-Siefert is right to encourage readers with a individual works of art from around the world. knowledge of German to consult the published transcripts, since they contain a wealth of important material, and in some cases material that is 2. Hegel's Texts and Lectures on Aesthetics missing from the Hotho edition (such as the brief reference to Caspar David Friedrich in the 1820/21 lectures [VÄ, 192]). Hegel's published thoughts on aesthetics are to be found in pars. 556–63 of the 1830 Encyclopaedia. Hegel also held lectures on aesthetics in Hegel's philosophy of art has provoked considerable debate since his Heidelberg in 1818 and in Berlin in 1820/21 (winter semester), 1823 and death in 1831. Does he believe that only Greek art is beautiful? Does he 1826 (summer semesters), and 1828/29 (winter semester). Transcripts of hold that art comes to an end in the modern age? The answers one gives Hegel's lectures made by his students in 1820/21, 1823 and 1826 have to such questions should, however, be offered with a degree of caution, now been published (though no English translations of these transcripts for, sadly, there is no fully worked out philosophy of art by Hegel that are yet available) (see Bibliography). In 1835 (and then again in 1842) was officially endorsed by Hegel himself. The paragraphs in the one of Hegel's students, Heinrich Gustav Hotho, published an edition of Encyclopaedia are written by Hegel, but they are very brief and Hegel's lectures on aesthetics based on a manuscript of Hegel's (now lost) condensed and were intended to be supplemented by Hegel's lectures; the and a series of lecture transcripts. This is available in English as: G.W.F. transcripts of the lectures are written by students of Hegel (some taken Hegel, Aesthetics. Lectures on Fine Art, trans. T.M. Knox, 2 vols. down in class, some compiled afterwards from notes taken in class); and (Oxford: Clarendon Press, 1975). Most of the secondary literature on the “standard” edition of Hegel's lectures is actually a work put together Hegel's aesthetics (in English and German) makes reference to Hotho's by Hegel's student, Hotho (albeit using a manuscript by Hegel himself). edition. Yet according to one of the leading specialists on Hegel's There is, therefore, no definitive edition of Hegel's fully developed aesthetics, Annemarie Gethmann-Siefert, Hotho distorted Hegel's thought aesthetic theory that would trump all others and settle all debate. in various ways: he gave Hegel's account of art a much stricter systematic structure than Hegel himself had given it, and he supplemented Hegel's 3.
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